AT THE SUMMER 
DANCE HALL 




fe^v^^i^'^^^^^^^^^^^^ 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 
Price» 25 cents 

The importance of an effective make-up is becoming tuore appa/> 

ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has no\» 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an* 
swered by this admirable hand-book. It is not only the best make* 
up book ever published, but it is not likely to be superseded b> 
any other. It is absolutely indispensable to every ambitious actor 

CONTENTS 

Chapter I. General Remarks. 

Chanter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Faca 
Powder and Puff, Exora Cream. Rouge. Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before iViaking up; the Straight Make* 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips. 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men. Young Men in 111 Health, witii Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Ae,e, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs. Beards, Eyebiows. Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other txposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearcfs, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers. Hoosiers, Southerners. 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes. 
Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers. 
Englishmen, Scotchmen, Ii-ishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys' 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Hebrews, Drunkards. Lunatics, Idiots, Misers, Rogues. 

'*. ; Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



AT THE SUMMER 
DANCE HALL 

MONOLOGUE FOR A WOMAN 



By 

LAURA WILLIAMS 



Copyright 1916 
By The Dramatic Publishing Company 



CHICAGO 
THE DRAMATIC PUBLISHING CO:\[PANY 



r^ a6> 






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^ 



S)CI,D 45709 

DEC 23 1916 



TMP92-007479 



AT THE SUMMER DANCE HALL 



Scene — A summer dance hall. 
Characters — Lucy — Susie — Sallij — Mamie. 

Lucy speaks. — Isn't this hall crowded? I hate a 
crowd. I wish somebody would ask me to dance. [Loohs 
about.] I may be fat, but I 'm light. [Siuays to music. 
Calls.] Mr. Jones. Oh-hoo — Mr. Jones. [Beckons fran- 
tically.] Oh, Mr. Jones, I'm so glad to see you. Thank 
you. I'd love to. I was hoping you'd ask me. [Danc- 
ing, making hard work of it and talking jerkily.] Isn't 
this floor lovely ? Such a crowd. I 'm crazy about danc- 
ing. Do you see Mrs. Brown? Queer woman. Bleaches. 
Mr. Smith is here dancing with little Molly White. 
Isn't that just like him? What a frump that woman 
is. Looks as though she'd lose — oh, is it over? We 
didn't start right off, did we? Let's encore. Aren't 
they stingy? [Sinks into chair.] I — get — so — breath- 
less. 

Susie speaks. — [Entering with a long stride laugh- 
ing.] What a jam? Are we going on? [Points.] 
Look, aren't they funny? See that old maid and that 
little fat woman. Oh — [Laughs boisterously.] Do 
they call that dancing? I could do better with both 
feet tied. That's a jelly tune. Lots of go in it. Let's 
try it for a lark. [Dances, twirling madly about.] I'm 
sorry. [Nods to couple. Dances off, knocking couple 
down. Stops.] I beg your pardon. [Helps them up.] 
Are you hurt? Awfully slippery floor. Accidents will 
happen. Is this your hair-pin? [Picks up pin.] It's 
broken. That's too bad. The music was so fast we had 
to go some to keep up with it. [Laughs.] You're lame. 
That's a shame. You'll be all right if you rub your 
knee with — what you may call it. You know, that lini- 



4 AT THE SUMMER DANCE HALL 

ment they advertise so much. I'm afraid we're block- 
ing the floor and llaiighing] missing the dance. You'd 
better go home. [Dances as before. Stops fanning her- 
self with handkerchief.] Whew! It's hot in here. 
Come out. I'm going for a swim. [Exits.~\ 

Sally speaks. — Oh Bobbie, isn't that a lovely hall? 
Can't we have just one turn? I'm sure Mama wouldn't 
mind with you, Bobbie. If it 's a waltz ? Oh — it is. It 
is a waltz. [Excitedhj.] Where do you buy your tickets ? 
Here Bobbie. Here 's the entrance. You promised. Five 
cents a dance. Isn't that funny? But I couldn't go in 
alone. Now, Bobbie, p — lease. You promised. [Drags 
him in.] Let's do that new step. You do too, know 
it. You did it all right at the school dance. Why 
Mama wouldn't mind a bit. I'm sure of it. Oh — 
p-lease start, Bobbie. [Dances fancy ivaltz step.] You're 
doing beautifully, Bobbie. Don't you love it? [Dances 
humming — stops.] Couldn't we have one more? Please. 
Just one more? We won't miss the boat. You know 
we've time. You just say that. Mama wouldn't mind. 
Oh — Bobbie. [Exits tearfnlly.] 

Mamie speaks. — Say, these dance hall mobs give me 
the dizzies. Never have no room ter do nothin' fancy. 
Come on and try. Aw they can't say nothin' ter yer. 
Ladies free. [Dances ivildly. To manager.] Stop ! Me 
stop ! What f er ? Let me tell yer, kiddo, that there ain 't 
a .duo in this joint that has anything on us fer steps. 
I could dance when I was six months old. Yer don't 
know what yer talkin'. We ain't done nothin' but regu- 
lar steps. Honest, I don't see what we done. I can't 
help it if I'm a little more speedy. That's the way I 
alius dances. Yer can't put us out. Yer can't I tell 
yer. [Backing to exit^ Yer a coward. Just because 
yer got white flannel pants on yer think yer own the 
place. T'aint nothin' but a nickel dance hall anyway. 
Yes, I'm goin' and I ain't never comin' back. You'll 
ruin the place puttin' respectable ladies out like this. 
I'm goin' ter tell everyone about yer. There's other 
dance halls. 



Practical Instructions tor 
Private Theatricals 



By W. D, EMERSON 



4JLuthor of "A Country Eomance,'' ''The Unknown Rival," 

*' Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. i\'o such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter I. Introductory Eemarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VT. Stage Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Ma»« 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANIT 

CHICAGO, ILLINOIS 



LIBRARY OF CONGRESS 



PLAYS MB 

A JLjX^ JL kJ 015 793 010 : 



And Entertainment Books. 

TijEING the largest theatrical booksellers in 
>^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other * 'make-up'' 
cnaterials. 

The Dramatic Publishing Company 
CHICAGO 



